The author described a method to add voice note identifications in his patent (U.S. Pat. No. 9,997,147). The method utilizes a present GM (General MIDI) compliant wavetable synthesizer. It is easy to implement the idea. However, it is not suitable to use it across all the logical channels of such a synthesizer. This is due to the fact that the invention needs 12 unused Logical Channels for every Logical Channel, which requires voice note identifications. Simply put, we need additional 16×12 unused Logical Channels to use it on all the 16 Logical Channels. It is not impossible, but impractical. There are also cases where the idea needs to be implemented in non-MIDI digital synthesizers or MIDI compliant, yet non-wavetable synthesizers.
In order to overcome the limitation imposed by his original patent, he developed a new method. The new method taps into how each MIDI Note On/Off signals are used inside of a GM compliant wavetable synthesizer. Although the new method brings a great deal of flexibilities, it has a drawback as well. It has to be implemented inside of such a synthesizer, which requires customizations.
Digital interface is used for a majority of today's musical instruments whether it complies with MIDI (Musical Instrument Digital Interface) or not. This means digital musical instruments are controlled in a similar fashion. With such instruments, this invention can be used to add voice note identifications. In this application, MIDI is used for the sake of the explanation, but most of the digital interface can be treated in the same manner. If not, simply this invention is not applicable. For the sake of discussions, MIDI is explained below.
MIDI is a standard known in the art that enables digital musical instruments and processors of digital music, such as personal computers and sequencers, to communicate data about musical notes, tones, etc. Information regarding the details of the MIDI standard is widely available.
MIDI files and MIDI devices which process MIDI information designate a desired simulated musical instrument to play forthcoming notes by indicating a patch number corresponding to the instrument. Such patch numbers are specified by the GM protocol, which is a standard widely known and accepted in the art.
According to GM, 128 sounds, including standard instruments, voice, and sound effects, are given respective fixed patch numbers, e.g., Acoustic Grand Piano=1. When any one of these patches is selected, that patch will produce qualitatively the same type of sound, from the point of view of human auditory perception, for any one key on the keyboard of the digital musical instrument as for any other key varying essentially only in pitch.
MIDI allows information governing the performance of 16 independent simulated instruments to be transmitted simultaneously through 16 logical channels defined by the MIDI standard. Of these channels, Channel 10 is uniquely defined as a percussion channel, which has qualitatively distinct sounds defined for each successive key on the keyboard, in contrast to the patches described hereinabove.
Note: In 1992, with the introduction of the Creative Labs Sound Blaster 16, the term “wavetable” started to be (incorrectly) applied as a marketing term to their sound card. Strictly speaking, it should be called “Sample based” synthesizer. In this application, the term “wavetable” is also used as “Sample based” following the current convention.
In modern western music, we employ so-called equal temperament tuning system where we divide one octave into 12 equally divided pitches. We use terms such as C, C #/D flat, . . . , B to indicate which one of the 12 pitches to be used. In every octave, we observe the repeat of the same sequence.
We also have a Solfege syllable assigned to each pitch name described hereinabove. For example, Do is used to indicate C. All Solfege syllables correspond to C notes sound qualitatively the same except for the feeling of higher/lower registers.
We use Solfege in music education because it enables us to sing a tune with pitch information. In theory, it is possible to use pitch names, such as C, D, etc. In practice, however, it is inconvenient to employ longer syllables for fast passages.
There are actually two kinds of Solfege in use today. One is called Fixed Do System, and the other Movable Do System. As the names suggest, you do not move the starting point Do in Fixed Do System whereas you move the starting point Do, sometimes called root note, in Movable Do System according to the key you are in.